Andrea Hendrickson 2 0 1 4 - 2 0 1 6 Sel ec t ed Wo rk s
Re s u me A cad e mia
C o n te n ts
L in co ln Cent er Museum S h ad o w P uppet Theat er To w e r o f t he Dead E me r g e n ce of Landscape Div e r g e n t A n imate d Sit e Pr o fe s s io n al Tr ap o lin Peer Archit ect s J o r g e Mast ropiet ro Archit ect s At elier
Andrea Hendrickson
504.376.3885 andreah108@gmail.com
1500 Brightside Drive, Apt D5 Baton Rouge, LA 70820
Work Trapolin Peer Architects new orleans, la Intern | May 2016 - August 2016, Winter 2016
Cole & Denny Architects alexandria, va Intern | August 2015 - May 2016
Greenleaf Architects mandeville, la Intern | Winter 2015
Jorge Mastropietro Architects Atelier new york, ny Intern | Summer 2015
Fauntleroy Latham Weldon BarrĂŠ covington,la Intern | June 2014-Sept. 2014
Lewis Tsurumaki Lewis new york, ny Extern | Winter 2013
Skills Education
Revit, Creative Cloud Rendering, Rhino, Maxwell Rendering, Model-making, 3d Printing, CNC Milling, AutoCAD, Adobe Creative Suite, Arduino Coding, V-Ray, Hand drafting, Microsoft Office and Sketch-Up. Louisiana State University Baton Rouge, LA Bachelor of Architecture (graduating May 2017) Virginia Tech Washington Alexandria Architecture Center Alexandria, VA Bachelor of Architecture (August 2015-May 2016) Mount Carmel Academy New Orleans, LA Cum Laude (2008-2012)
Leadership / Achievements
OJ Baker Memorial Scholarship Recipient Landscape Relationships Exhibit John N. Cryer, III/Page Scholarship Recipient (2 years) Bingham Cushman Stewart Scholarship Recipient (3 years) AIAS LSU, Director of Programing
March 2016 January - February 2015 2014-2016 2013-2016 June 2013-May 2014
Lincoln Center Museum Fall 2016
Design Studio
a Modern Art Museum Instructor Michael Desmond and Tom Sofranco
The Lincoln Center Museum Project is a multi-purpose cultural facility located at the Lincoln Center of the Performing Arts in New York, NY. The purpose of the museum is to exhibit the artwork of performance arts professionals specializing in modern and sculptural art. The program also contains a 80 seat theater for small performances.
The trasnparent core draws people into the building with the curiosity of the center atrium. This atrium serves as an embodiment of the New York state of living - a constantly crowded, obtrusive space. This atrium plays with the voyerisic state by creating voids in its surface that create spaces of viewing the viewers.
The entrance into the building provides a direct view up the lightwell and onto the passing visitors above.
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columbus ave.
up
security office
lockers
break room
boh/mec/ storage
gallery 4
office
office
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reception restroom coat check
restroom
janitor storage closet
lookout janitor/ storage room
light well above
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up
museum shop
entrance
restroom collect and transport up
gallery 5
artist entrance
studio delivery
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w 65th st.
l evel 4 scal e : 3/ 32� = 1’ -0�
The lightwell serves as a sculpture on its own. It plays with the voyeristic quality of New York and put the visitors of the museum on display as moving works of art themselves.
The thrid floor observance deck fully exposes the watched and watching in a moment of shared exploration. The openness creates a new condition to look at the work and challenges the state of mind in the space.
Shadow Puppet Theater Washington, D.C. Spring 2016 Design Studio Instructor Marcia F. Feuerstein
The craft and creation of shadow puppets is an old craft that has lost its appreciation over time. This shadow puppet theater creates a dialogue between the puppet makers and the patrons to create a chance for appreciation. The connection with the heavy top of the building with the seemingly fragile base creates a dialouge on the exterior building that begins to address the disconnect between the everyday man and that of a craftsman.
In the circulation up to the theater, the boundaries of performance and architecture move into a shadowdialogue between puppeteer, craftsman and audience, through light, structure and skin. Utilitarian ‘behindthe-scenes’ activities of the craftmen are partially visible alongside the main circulation in the building. And a shadow archive honors the work and detail of the puppets that often gets overlooked in the theatrics of a play.
The use of lightwells transform the building itself into a shadow play.
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shadow / puppet archive
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mech. cl. dn
office
puppet making dn dn
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puppet storage
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up
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set building
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level 2 - shadow archive scale : 1/8” = 1’ - 0”
recessed LED
double glazing
sill board -formed concrete wall
recessed LED embedded hook
poured-in-place concrete cantilever floor
puppet archive section detail scale : 1/2” = 1’ - 0”
The shadow archive uses poured in place concrete as a surface to cast the shadows of the archived puppets from previous shows. By using natrual light through horizontal cuts in the fascade the puppets come alive as the light moves through the building.
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The rear of the building serves as the warehouse for the puppet makers. This space is the most activated throughout the day. The use of semi-transparent walls creates a dialoug during the day with the city-goers. The creation of the puppets becomes its own play with contant moving parts of conveyer belts and craftsmen through the space.
section b scale : 1/
Tower of the Dead Fall 2015
An Urban Cemetery Design Studio Instructor Markus Breitschmid
In the ever-growing urban landscape, the realization of death and burial is often hidden within or taken out of the urban context. This new approach to a burial site re-imagines the skyline to embrace and celebrate death rather than shy away from the subject. The urban cemetery uses procession, disorientation and the contrast of scale to take visitors in and create a fortress around them. The cemetery takes the visitor
in through a small and subtle entrance that allows for the absorption of the massiveness of the tower. The procession continues and moves through the wake space into the exterior garden with a reflecting pool which captures the solid form of the retaining walls as well as light the chapel from the low-lying windows. This elongated procession allows for the removal from the city while still being connected to it.
Roof Garden 356’-0�
The tower seeks to attach the stillness of the dead to the moving alive. The subtle entrance to the cemetery allows for the visitor to take in the massiveness of the tower. Later in the journey the interior of the building creates an intimate scale that contrasts with the massive scale of the exterior.
The design of the urban cemetery attempts to capitalize on the disconnectedness of the mourner’s by generated an isolated condition to elevate the accessing of memory into a metaphysical experience. Through a series of thresholds a spatial hierarchy creates the separation and flow of the ritual movements of a burial. To enter the cemetery one must first descend into the ground only to rise up again. This bodily movement serves as a symbol for traditional understanding of burial.
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In the Catholic Church the circle represents eternal life. The tower embodies this form completely which allows for the central circulation ramp to round up the tower. This circulation path is surrounded by the back walls of the graves which generates the weight of the experience. On each level the graves and visitor benches follow this circle so that the visitor is completely surrounded by the form of eternal life.
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Emergence of Landscape Fall 2014
Wax Lake Delta Fabrication Research Instructor Shelby Doyle
The Wax Lake Delta is a river delta located approximately 20 miles Southwest of Morgan City, LA. The delta was formed in 1942 as a diversion from the Atchafalya river to lower flood stages in Morgan City. From an aerial perspective, the most notable characteristic of the delta is its vast scale. The delta covers an area of approximately 39 square miles, stretching 5 miles into the Gulf of Mexico. Main water channels and arteries are visible between patches of marsh. However, what is unseen from this view is the variation in elevation between land and water.
The Wax Lake Delta is flat - there is little change between the Z axis of land and water. The delta takes about 40% of the water from the Atchafalaya, bringing with it about 34 million tons of sediment per year. This sediment accumulates to create about 3.5 square kilometers of landmass in the Gulf. Because of the directionality of the current, the most notable variations in elevation occur farther North of the delta where sediment tends to compound itself. This also creates for deeper water channels that later disperse out into many arteries in the Gulf.
water line
Acrylic Sheet Pin Model
Topography model Removable Frosted Acrylic Panel
Text Acrylic Section Model
Text Context Map
Projector Inside
The most difficult part of fabricating the Wax Lake delta was how to represent a landscape so vast and flat in a way that is both informative and experiential. Early investigations proved that an exaggerated Z axis section model was necessary to provide an accurate yet skewed informative model. Along with the section model, another aspect of the kiosk shows the experiential aspect of the delta - the emergence of the landscape. Decisions for this model were formed around the necessary emphasis for the visual aspect of the landscape physically emerging from a flat plane, only to recede back to nothing. The final decision was made to create a pin impression point cloud model that not only shows the emergence of landscape but also begins to represent this idea of “wetland.�
The pin screen model seeks to define the experiential differentiation in scale. The landscape initially is flat and formless, but when activated the emergence of the landscape is revealed. Main water channels become visible and the concentration of sediment growth is shown. The point cloud, while raising to show the sediment that defines the shape of the delta, also begins to blur the lines between land and water. The placement of 31,056 pins gives the model an acute since of detail and edge, but also responds to the idea of “wetland” by using one material. Since the terms “land” and “water” are ambiguous in the sense of the always changing delta, the point cloud reflects this condition.
1/4”
The design of the kiosk was discovered around the desire for a 360 degree viewing angle. Much like exhibits in museums that occupy the center of a space, the kiosk contains information that engages the viewer from all four angles. The exhibit is compositionally structured to read as two major intersecting forms. The pieces that are white and acrylic create the structure for the two models, while the black members display the text and other information. Originally, a projection containing an animation and information was to be displayed onto the section model originating inside one of the black arms of the kiosk and reflecting off of a mirror in order to gain the required depth for a wide projection. This later changed to the projector shining from below the section model.
48”
6”
18”
Non-Newtonian Fluid Model
Text
Text
24”
Acrylic Section Model
Mirror iPad
30”
A code was written and programmed to Arduino to create a push bottom code that rotated a servo.
Three different gear systems were tested. The final gears consisted of one small gear connected to the servo, which then turned a much larger gear that rotated a reciprocating arm.
The arm then pushed up a lever that moved the topography model of Wax Lake up and down. Springs were used to reduce the pressure on the gear system.
Final assembly under the topography model consisting of push button, Arduino board and servo gear system.
To create an exaggerated z axis topography model first a section was cut from the bathemetry model in Rhino and then scaled in the Z direction.
The file was then section cut and laid out in AutoCAD to be laser cut. Once cut and assembled resin was colored and poured to represent the water levels.
An AutoCAD file was made to laser cut the holes for the pin screen.
31,056 pins where placed in the holes. The topography model for the Wax Lake Delta was then placed beneath it.
Divergent A Decent into Marfa Fall 2014 Design Studio Instructor Robert Holton
The Retreat and Collective proposed for Marfa shifts the visitor from above the landscape to deep in the landscape enhancing the experience of the displayed art by providing multiple controlled views of the artwork on the site. The circulation though the site takes guests from a 20’ elevation to a -30’ elevation into the earth. The circulation on the site conducts the experiential
quality of the gallery spaces by creating hyper specific views of the artwork from many different elevations. The gallery spaces that the circulation moves through offers the visiting artists with specific parameters for the artwork. This allows the artists to explore Judd’s emphasis on extremely site specific artwork.
As the visitor descends into the earth the structural language of the circulation space is mimicked. The interior gallery 30’ below Marfa’s ground level is lit only from the above structure of steel and frosted glass.
Animated Street A Movie Production and Screening Facility Spring 2015 Design Studio Instructor Catherine Bonier
The intervention on the Felicity Street site is a movie production and screening space that provides smaller, independent film artists with a space to create and show films in order to thrive in the booming movie industry in New Orleans. The ground floor intervention includes two production rooms and two screening
opportunities – one interior and one exterior. Three of the apartments contain a wall that allows for backscreening projections which provides a tertiary means of sharing and displaying the films being produced on the site. This allows the street to be activated and invites the community to participate.
Shared Space
projection to street below
projection to street below
Street Extension
The faรงade that surrounds the shared porch spaces on the apartment levels creates a space that manipulates the natural light and provides a barrier from the street view. The shared porch concept comes from the traditionally porch street front that is typical to the New Orleans shotgun.
open to below
open to below
Pr o fe s s io n al Work
Trapolin Peer Archit ect s Jorge Mast ropiet ro Archit ect s At elier
Trapolin Peer Architects Downtown Tower Proposal Downtown New Orleans
During my internship at TPA, I was on a team of 4 that worked on a design proposal for a tower in downtown New Orleans. A rare site, spanning across the middle of a block, allowed for the exploration of an expansive design. This design procress, included the schematic laying out of
spaces in relation to the existing site condition and in relation to the new relationships the project called into questions. Plans, sections and renderings were done for the client to understand the overall concept and spatial conditions.
CIRCULATION 1401 SF
A 667 SF
Level 6 70' - 0"
FITNESS 751 SF
CIRC 1389 SF Level 5 60' - 0"
MEETING PRE-FUNCTION 2478 SF
KOLBS 1 - WEDDING SUITES 1357 SF
Level 4 45' - 0"
MEETING PRE-FUNCTION 2392 SF
PREFUNCTION 3394 SF
Kolb Bldg 1 - Level 3 31' - 5"
Level 1 0"
SECTION THRU ATRIUM
BAR 457 SF
INTERIOR COURTYARD 5511 SF
Kolb Bldg 1 - Attic 44' - 7"
PEARL - MEETING 4246 SF
Kolb Bldg 2 - Level 4 37' - 7" Kolb Bldg 1 - Level 3 31' - 5" Kolb Bldg 2 - Level 3 26' - 6 1/2"
PREFUNCTION 3394 SF Kolb Bldg 1 - Level 2 16' - 5"
INTERIOR COURTYARD 5511 SF
Kolb Bldg 2 - Ceiling 47' - 5"
Level 3 31' - 0"
KOLB 1 - MEETING 1358 SF
Level 2 17' - 0"
CIRCULATION 2336 SF
Level 4 45' - 0"
The Pearl - Level 2 36' - 5"
SUITE ENTRY 700 SF
Level 3 31' - 0"
PREFUNCTION 3394 SF
The Pearl - Level 3 50' - 5" Kolb Bldg 1 - Attic 44' - 7"
Level 2 17' - 0" The Pearl - Level 1 16' - 5"
Kolb Bldg 1 - Level 2 16' - 5" Kolb Bldg 2 - Level 2 13' - 2 1/2"
PEARL - F+B 1 3953 SF
ST. CHARLES ENTRY 1142 SF Level 1 0"
SECTION FACING PEARL + KOLBS 22
123 St. Charles Avenue, New Orleans LA 70130 08 July 2016
123 St. Charles Avenue, New Orleans LA 70130 08 July 2016
Trapolin Peer Architects Multi-Family Tower New Orleans’ Warehouse Historic District
During my internship at TPA, I was in charge of putting together marketing packages for the website launch of a modern tower in the Warehouse District of New Orleans.
This included setting up render views, designing elements of the ground floor and roof top deck, and creating floor plans for the individual units for the website.
16' 9" x 9' 5"
16' 9" x 21' 10"
12' 7" x 12' 6"
A
2
Unit 701, 901, 1101 SCALE: 1/8" = 1'-0"
UNIT TYPE - 1 BEDROOM, 1 BATH TOTAL HEATED - 953 SF BALC - 56 SF TOTAL - 1,009 SF
A PROFESSIONAL CORPORATION 850 Tchoupitoulas Street New Orleans, Louisiana 70130 C:\00Revit Locals\CN11488-Annunciation_ahendrickson.rvt
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Tracage Development, LLC 1100 Annunciation Street, New Olreans, LA 70130 8/17/2016 11:49:56 AM
Jorge Mastropietro Architects Atelier [en]light Free Library for Jersey City Competition Runner-Up
This proposal for a Free Library for Jersey City conceptually embraces knowledge. At the core of the project, the sculptural book tower emphasized the importance of the printed work in an age of digital media. This semi-translucent acrylic provides protection and security for the books, while still revealing its contents
within. At night, the book tower disperses light which becomes a beacon in the park. The orange aluminum screens cradle this central element when closed, but are operable to provide seating and a place for social interaction.
Jorge Mastropietro Architects Atelier Jersey City Townhome Renovation Historic District
During my internship at JMA, I was in charge of putting together design proposals under the supervision of Jorge Mastropietro. Over the course of the summer I started and
completed the construction set for the renovation. I was also in charge of putting together finish and product boards for the client meetings.